name a film that’s so beautifully shot it feels like a painting Robert Altman’s Images (1972) always reminds me of a beautiful realism painting

Every single world of this.

Orson Welles' final live-action appearance was introducing an episode of Moonlighting in 1986. I've also included Cybill Shepherd and Bruce Willis performing, "I Told Ya I Love Ya, Now Get Out." This is the best Cybill looked during the entire run of the show.

Masaki Kobayashi explains why the weather isn't calm in his films: "Since I grew up in Hokkaido, in the far North, I could not get used to the warm weather in the South. I think that the reason why I felt comfortable in Manchuria [during the war] was because the climate was

DepressedBergman Weather in Kobayashi’s films isn’t just background — it’s biography. The storm is not invented; it’s remembered.

Christopher Nolan on Hans Zimmer: "Each successive film I’ve done with Hans, I’ve tried to involve him at an earlier and earlier stage. Adding music to a film doesn’t work for me – it’s the reason I can’t temp a movie (edit using some other movie’s music to be replaced later).

I don’t know much about Polanski but I disagree that Woody is a monster, and my views of his movies and books are unchanged - they are brilliant and the world would be a much more depressing place without them

Having a glamorous amorous evening with Bettie Page.....

‘La Belle Noiseuse’ [1991]. Dir: Jacques Rivette. DoP: William Lubtchansky.

What distinguishes De Palma's visual style is smoothness combined with a jazzy willingness to appear crazy or campy; it could be that he's developing one of the great film styles—a style in which he stretches out suspense while grinning his notorious alligator grin. (1978)

Opening day of Martin Scorsese’s AFTER HOURS, 9/13/85

like we need an fbi investigation into this

Seriously - this needs to be a museum

I'd like to give a shoutout to Burt Lancaster. I've watched several of his films this year, and he always delivers. Whether on a horse, in a courtroom, on a beach, or in a suit, his performances captivate with a commanding yet delicate presence.

Today marks the 40th anniversary of After Hours (1985). "I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning." — Martin Scorsese interviewed by The New York

A theory about the decline of movie marketing: The lost art of the STILL. Once, you'd see a film still & it would capture your imagination. (Think of the recurring dream of stealing CITIZEN KANE lobby cards in Truffaut's DAY FOR NIGHT.) Now they just look like random frame grabs.

Michael Ballhaus on working as cinematographer for After Hours (1985): "My first film for Scorsese, After Hours, had a budget of only four million dollars and had to be shot in 40 nights. Scorsese had not worked under such conditions since his early days as a filmmaker. I said

Once I was in a copy shop in Queens waiting for the young woman behind the counter to copy a manuscript I'd brought her. In to the shop came a much older woman with a little girl. The older woman was seething about something and charged behind the counter and attacked the

Bong Joon Ho on his relationship with his contemporaries: "It wasn’t as if we had this manifesto that we are part of this group like Dogme 95, and we never considered this a movement per se. But it is true that directors like Park Chan-wook, Kim Jee-woon, and I we did hang